I have to admit that before I read this anthology edited by
Lawrence Block, I wasn’t that familiar with the work of Edward Hopper, other
than the painting “Nighthawks”. I came away quite impressed with Hopper’s work
showcased here, as well as many of the stories inspired by those paintings.
Seventeen authors contributed stories for this volume. As they’re listed on the cover: Stephen King, Joyce Carol Oates, Robert Olen Butler, Michael Connelly, Megan Abbott, Craig Ferguson, Nicholas Christopher, Jill D. Block, Joe R. Lansdale, Justin Scott, Kris Nelscott, Warren Moore, Jonathan Santlofer, Jeffery Deaver, Lee Child, Gail Levin, and Lawrence Block. Naturally, I enjoyed some stories more than others. My favorites are Megan Abbott’s period yarn “Girlie Show”, Michael Connelly’s “Nighthawks” (a Harry Bosch story), Craig Ferguson’s oddball “Taking Care of Business” (inspired by the painting “South Truro Church”), Jonathan Santlofer’s tricky “Night Windows”, Lawrence Block’s “Autumn at the Automat”, which reminded me of some of his early crime digest stories, and my pick for the best story in the book, Joe R. Lansdale’s “The Projectionist” (inspired by the painting “New York Movie”).
Seventeen authors contributed stories for this volume. As they’re listed on the cover: Stephen King, Joyce Carol Oates, Robert Olen Butler, Michael Connelly, Megan Abbott, Craig Ferguson, Nicholas Christopher, Jill D. Block, Joe R. Lansdale, Justin Scott, Kris Nelscott, Warren Moore, Jonathan Santlofer, Jeffery Deaver, Lee Child, Gail Levin, and Lawrence Block. Naturally, I enjoyed some stories more than others. My favorites are Megan Abbott’s period yarn “Girlie Show”, Michael Connelly’s “Nighthawks” (a Harry Bosch story), Craig Ferguson’s oddball “Taking Care of Business” (inspired by the painting “South Truro Church”), Jonathan Santlofer’s tricky “Night Windows”, Lawrence Block’s “Autumn at the Automat”, which reminded me of some of his early crime digest stories, and my pick for the best story in the book, Joe R. Lansdale’s “The Projectionist” (inspired by the painting “New York Movie”).
A few words about those last two: I’m old enough to remember
automats, although there weren’t many still around by the time I was a kid. I
recall buying sandwiches and pieces of pie in them, however, so I felt a
personal connection with Block’s story. There’s even more of a personal
connection with Lansdale’s story, because I spent a great deal of time between
1970 and 1975 in the Worth, Palace, and Hollywood Theaters in downtown Fort
Worth, and by then they were the sort of shabby movie palaces in which Joe’s
yarn is set. This one really kicked up a lot of nostalgia in my mind.
All in all, IN SUNLIGHT OR IN SHADOW is an excellent anthology whether you’re familiar with Edward Hopper’s work or not. If you are, you’ll probably find it a veritable feast. If you aren’t (like me), it’s a very entertaining education. Either way, it gets a high recommendation from me.
All in all, IN SUNLIGHT OR IN SHADOW is an excellent anthology whether you’re familiar with Edward Hopper’s work or not. If you are, you’ll probably find it a veritable feast. If you aren’t (like me), it’s a very entertaining education. Either way, it gets a high recommendation from me.
